Post Production Audio Roles
Film Production Process
Most of the time, movie sound is taken for granted—we are not actively thinking about the sound when we are watching a movie. The dialogue, sound effects (SFX), and music all seem to be a part of one unified family. However, getting to the point where the sound becomes an integrated character within a movie is often fraught with a tremendous amount of technical and creative challenges.
We need to be aware of the entire sound post process, and what that entails, and you may find that you become interested in other parts of the audio post process.
Most of the time, movie sound is taken for granted—we are not actively thinking about the sound when we are watching a movie. The dialogue, sound effects (SFX), and music all seem to be a part of one unified family. However, getting to the point where the sound becomes an integrated character within a movie is often fraught with a tremendous amount of technical and creative challenges.
We need to be aware of the entire sound post process, and what that entails, and you may find that you become interested in other parts of the audio post process.
Before Audio Post
A film production goes through many different processes. First, the film is written; then it enters pre-production. At this point, all of the talent in front of and behind the camera is assembled. Depending on the director, the discussion of the audio needs of the film may be relegated to production sound. Music editing, along with the other elements of post sound, are generally afterthoughts.
In the independent film world, this is a particularly prevalent mindset. This may have to do with the director being new at the craft of film-making, or simply a lack of proper financing. Another, more typical, reason is that most directors are too preoccupied with all of the various tasks relating to the film's production—working with actors, producers, and managing the whole process, as well as dealing with all of the needs of the crew.
What is post-production, and where does audio fit in?
When does post sound start? Well, depending on who you talk to, a good producer will place a priority on ensuring that the audio needs of the film are taken into consideration during the film's pre-production period.
The more thought that is given to sound, the better. One of the bigger expenses associated with a film's post budget is sound. If time and attention are paid to sound on the front end, certain redundancies can be removed from the post sound process.
If a film's sound is not given enough consideration, or if the production sound is done poorly, the producers will have to spend time and money re-recording and re-synching the dialog. So it's critical that the production sound be recorded as carefully as possible. If the film is a really large feature that is producing dailies, a sound mixer may be required to do what's known as a "temp mix." Since dallies are being reviewed by the producers, it's important that the basic audio quality of the film is good.
What actually happens in audio post?
In audio post, we are creating the sound elements of the film; in many instances, most of these audio assets are actually created long after the film has been shot. This can be referred to as audio re-creation, as what we are involved with is derived from the story of the film. Another way to refer to the audio is as a sort of parallel narrative.
Several of the processes involved in post sound include:
A film production goes through many different processes. First, the film is written; then it enters pre-production. At this point, all of the talent in front of and behind the camera is assembled. Depending on the director, the discussion of the audio needs of the film may be relegated to production sound. Music editing, along with the other elements of post sound, are generally afterthoughts.
In the independent film world, this is a particularly prevalent mindset. This may have to do with the director being new at the craft of film-making, or simply a lack of proper financing. Another, more typical, reason is that most directors are too preoccupied with all of the various tasks relating to the film's production—working with actors, producers, and managing the whole process, as well as dealing with all of the needs of the crew.
What is post-production, and where does audio fit in?
When does post sound start? Well, depending on who you talk to, a good producer will place a priority on ensuring that the audio needs of the film are taken into consideration during the film's pre-production period.
The more thought that is given to sound, the better. One of the bigger expenses associated with a film's post budget is sound. If time and attention are paid to sound on the front end, certain redundancies can be removed from the post sound process.
If a film's sound is not given enough consideration, or if the production sound is done poorly, the producers will have to spend time and money re-recording and re-synching the dialog. So it's critical that the production sound be recorded as carefully as possible. If the film is a really large feature that is producing dailies, a sound mixer may be required to do what's known as a "temp mix." Since dallies are being reviewed by the producers, it's important that the basic audio quality of the film is good.
What actually happens in audio post?
In audio post, we are creating the sound elements of the film; in many instances, most of these audio assets are actually created long after the film has been shot. This can be referred to as audio re-creation, as what we are involved with is derived from the story of the film. Another way to refer to the audio is as a sort of parallel narrative.
Several of the processes involved in post sound include:
- Music
- Sound effects
- Sound design
- Dialogue recording (ADR)
- Dialogue mixing and editing
- Music composition
- Score mixing
- Music editing
- Final mix
The Locked Cut
One of the most important parts or stages in a film's production is the locked cut. Locked refers to the point at which the film's visual assets have been locked into place, or which the visuals have been taken from the offline editing (non-linear) and placed into a master timeline or online editing platform.
This process has gone through some sizeable changes in recent times. Previously, audio post was strictly relegated to the point at which the film was finished, but in the past two decades, the process of finishing a movie has become more fluid. This is mostly the result of recent developments in digital non-linear editing platforms.
Non-linear editing allows a filmmaker to make very quick changes on the fly, thereby making it easy to create multiple versions of a film. This process is influenced by the changing nature of the film industry and the way in which a film is brought to market. Since so many projects are being edited right up until mixing, the whole issue of when we have a “locked cut” is largely driven by the format (TV, Internet, or film) and the venue (festival, full theatrical, or limited theatrical release) in which the film will be released or premiered.
Because released films are edited for different markets, the filmmaker may also have to produce several versions of the film. A good example of this might be a documentary that must be adapted for television, which might involve taking an 80-minute feature-length edit and reduce it to a project that comes in at 60 minutes, less commercials.
This affects all aspects of audio post, and it can have profound implications on the amount of work you, the music editor, must do. All of the sound editors involved in the process of mixing the movie will have to revisit the audio assets (respective mixes) and then make them conform to a new locked cut.
Here's a classic example of how this works:
The audio department must produce additional sound effects.
* The composer will need to add to the score.
* After the score is updated, more music editing is required.
* Additional ADR will be needed.
* Another sound mix will have to be done.
This issue with the locked cut is crucial to understanding the role of a music editor. You may be asked or contracted to work on several versions of the film. If the topic of re-editing doesn't arise when you are brought on, you absolutely should ask how many versions of the film you will be required to participate in.
In terms of modern filmmaking, audio assets may have to be moved around whenever there are changes to the cut. Many movies are kept in a constant state of flux until the film is actually mixed—and even then, changes still can occur, such as the ones mentioned above.
The conversation around music editing should begin before there is a locked cut, and may take place before the film enters into the final phases of post sound.
One of the most important parts or stages in a film's production is the locked cut. Locked refers to the point at which the film's visual assets have been locked into place, or which the visuals have been taken from the offline editing (non-linear) and placed into a master timeline or online editing platform.
This process has gone through some sizeable changes in recent times. Previously, audio post was strictly relegated to the point at which the film was finished, but in the past two decades, the process of finishing a movie has become more fluid. This is mostly the result of recent developments in digital non-linear editing platforms.
Non-linear editing allows a filmmaker to make very quick changes on the fly, thereby making it easy to create multiple versions of a film. This process is influenced by the changing nature of the film industry and the way in which a film is brought to market. Since so many projects are being edited right up until mixing, the whole issue of when we have a “locked cut” is largely driven by the format (TV, Internet, or film) and the venue (festival, full theatrical, or limited theatrical release) in which the film will be released or premiered.
Because released films are edited for different markets, the filmmaker may also have to produce several versions of the film. A good example of this might be a documentary that must be adapted for television, which might involve taking an 80-minute feature-length edit and reduce it to a project that comes in at 60 minutes, less commercials.
This affects all aspects of audio post, and it can have profound implications on the amount of work you, the music editor, must do. All of the sound editors involved in the process of mixing the movie will have to revisit the audio assets (respective mixes) and then make them conform to a new locked cut.
Here's a classic example of how this works:
- A film goes to Sundance. At this point, it is already considered finished by the filmmaker. All of the audio assets have been edited, mixed, and printed.
- A distributor purchases the film, but with the contractual stipulation that changes must be made in order to meet its distribution requirements.
- Because of this, a scene is added to the film. For the new scene, the following must occur:
The audio department must produce additional sound effects.
* The composer will need to add to the score.
* After the score is updated, more music editing is required.
* Additional ADR will be needed.
* Another sound mix will have to be done.
This issue with the locked cut is crucial to understanding the role of a music editor. You may be asked or contracted to work on several versions of the film. If the topic of re-editing doesn't arise when you are brought on, you absolutely should ask how many versions of the film you will be required to participate in.
In terms of modern filmmaking, audio assets may have to be moved around whenever there are changes to the cut. Many movies are kept in a constant state of flux until the film is actually mixed—and even then, changes still can occur, such as the ones mentioned above.
The conversation around music editing should begin before there is a locked cut, and may take place before the film enters into the final phases of post sound.
The Steps of Audio Post
Let's take a quick look at the stages of audio post.
Production Dialog Editing
The first stage of working with a film's audio is the production dialog recording, followed by the subsequent editing and mixing. In this phase, the film's production audio, which consists of the audio that's been recorded on set, is prepared and edited. This involves going through all of the audio that's been recorded on camera.
Often, there will be additional audio that is recorded by the sound recordist. All of these various recordings will need to be logged and organized in a cogent, usable way. It's critical at this stage to determine how much of this audio is usable.
Production audio can come from a variety of sources, such as the camera audio, the boom mic, and wireless microphone recording.
Camera audio is recorded by the camera's onboard microphone. This particular kind of audio recording isn't ideal, but it's often used when people are filming interviews. This is a very common practice among independent and documentary filmmakers.
A Boom mic is the microphone that's held over the actors' heads. Mounted on a boom stand, this is a mic that uses a very directional pattern designed to pic sound up from a distance.
Wireless microphones are attached to the actor, and may be hidden in an item of clothing. This gives the option of having audio recorded in very close proximity to the actor's mouth. This technique helps mitigate the noise that's normally encountered when recording dialog.
General Notes about Production Audio
Production audio also can include room tone and additional ambiance. This additional audio then becomes a part of the sound effects section of the mix.
Let's take a quick look at the stages of audio post.
Production Dialog Editing
The first stage of working with a film's audio is the production dialog recording, followed by the subsequent editing and mixing. In this phase, the film's production audio, which consists of the audio that's been recorded on set, is prepared and edited. This involves going through all of the audio that's been recorded on camera.
Often, there will be additional audio that is recorded by the sound recordist. All of these various recordings will need to be logged and organized in a cogent, usable way. It's critical at this stage to determine how much of this audio is usable.
Production audio can come from a variety of sources, such as the camera audio, the boom mic, and wireless microphone recording.
Camera audio is recorded by the camera's onboard microphone. This particular kind of audio recording isn't ideal, but it's often used when people are filming interviews. This is a very common practice among independent and documentary filmmakers.
A Boom mic is the microphone that's held over the actors' heads. Mounted on a boom stand, this is a mic that uses a very directional pattern designed to pic sound up from a distance.
Wireless microphones are attached to the actor, and may be hidden in an item of clothing. This gives the option of having audio recorded in very close proximity to the actor's mouth. This technique helps mitigate the noise that's normally encountered when recording dialog.
General Notes about Production Audio
Production audio also can include room tone and additional ambiance. This additional audio then becomes a part of the sound effects section of the mix.
ADR
Once the post-sound house has determined what production audio can or cannot be used, ADR is then recorded. Simply put, ADR is automated dialogue replacement. The audio that's not salvageable from the production audio track will be replaced by the ADR.
Dialog may often need to be replaced due to situations with too much ambient noise—such as traffic, wind, birds, planes, and so forth. This is very common on most film and television shoots—in fact, if you are listening very closely, you'll often notice that when a character is shot from a distance, the audio may sound different than during a close-up. The ambience may also be different. This is often the result of the dialog being recorded in a different space. Sometimes, particularly on older movies, the ambience may not be evenly matched with dialog that is spoken and recorded on camera.
The ADR supervisor is generally the person who is responsible for directing and producing these additional dialog sessions.
During post sound mixing, the actors are often brought back, and must actually sync their lines to the moving images. This process is commonly called looping.
Dialog may often need to be replaced due to situations with too much ambient noise—such as traffic, wind, birds, planes, and so forth. This is very common on most film and television shoots—in fact, if you are listening very closely, you'll often notice that when a character is shot from a distance, the audio may sound different than during a close-up. The ambience may also be different. This is often the result of the dialog being recorded in a different space. Sometimes, particularly on older movies, the ambience may not be evenly matched with dialog that is spoken and recorded on camera.
The ADR supervisor is generally the person who is responsible for directing and producing these additional dialog sessions.
During post sound mixing, the actors are often brought back, and must actually sync their lines to the moving images. This process is commonly called looping.
Sound Editing and Design
Sound designers are the folks who create sound effects for the movie. This can include anything from ambience, such as room tones or spaceship sounds, all the way to hard SFX. Hard SFX includes over-the-top sound effects, such as car crashes, explosions, or just about anything else that falls outside the purview of ambience.
Sound editing usually involves the placement of these effects into the timeline. This involves layering the effects, drawing fades, labeling tracks, and generally making sure that everything is organized and in its right place. The size and type of film, as well as the budget of the film, determines the makeup of this department, but it's not unusual to have a dozen or so people working on this aspect of sound design.
Sound editing usually involves the placement of these effects into the timeline. This involves layering the effects, drawing fades, labeling tracks, and generally making sure that everything is organized and in its right place. The size and type of film, as well as the budget of the film, determines the makeup of this department, but it's not unusual to have a dozen or so people working on this aspect of sound design.
Foley Artists
In addition to the recording of sounds, a foley artist may be employed. The foley artist is responsible for creating many of the human movement sounds we expect to hear. Let's look at some of the more common types of foley sound:
- Footsteps: Footsteps are rarely picked up in the production track, so they have to be created by the foley artist. Examples are: steps on a gravel path; walking through dried leaves in a forest; the click of high heels on a hardwood floor.
- Cloth sounds: These are things like: petticoats rustling; jackets put on and taken off; snaps and zippers and Velcro—these all need to be in there, not overlooked. These very subtle nuances really bring additional life to a film.
- Fight sounds: An early use of foley was in martial arts films (think Enter the Dragon with Bruce Lee), in which you can hear all the whooshes and smacks as the combatants face off. All of that has been added after the fact.
- Hands: Some examples are: hands brushing against clothes; two buddies giving a high-five; applause.
The Music Department
The film composer is the person responsible for creating the parallel narrative of the film. Let's take a moment to talk about what that parallel narrative is.
When composing music for film, the intention is to create music that becomes an actual character in the film—it's analogous to casting a supporting actor. The script that a composer follows is one that's laid out by the director and editor.
As a music editor, you will have to learn aspects of the composer's craft in order to successfully execute your craft. Both music composition and music editing are interwoven. In fact, you can look at music editors as being co-creators of the musical score.
In terms of audio deliverables, you can't really put music composition into the other sound categories, as it's unique in several ways:
In addition to stylistic and artistic considerations, the film composer must understand how to technically interact with the other members of the post sound team. Often, the music editor acts as the conduit during this process.
Orchestrator
The orchestrator is responsible for adapting the musical score for a symphony orchestra. Often, on a large film, orchestration can be more time-consuming than the actual writing of the film's music. Composers use the orchestrator to prepare parts (via a copyist) for the different parts of the orchestra. An orchestrator may end up being tasked with composing additional music.
Score mixer
The score mixer is responsible for mixing and recording the orchestra. After the scores are completed, the score mixer will work at balancing, equalizing, and then delivering a final mix of the orchestral score. This can sometimes be a two-mix (stereo), a surround mix, or a mix of the audio stems.
Music supervisor
This is another very broad job description. A music supervisor acts as a creative consultant to both the directors and the producers. They may be tasked to find a composer; they may also be tasked to find songs that will be used in place of a score. Finding music, and then doing the necessary legal clearance to use it, are all parts of this. The music supervisor often relies on the knowledge and expertise of a music editor to ensure that the style of the music used fulfills the director's creative vision of the movie. Often, a music editor will double as a music supervisor on a movie.
Music editor
The music editor works with the composer in the preparation of the score. The music editor can also work with the music supervisor in the placement of source music (music emanating from a scene). The music editor compiles the spotting notes and ensures that the composer's music is synchronized with the picture.
Music editing is much like sound effects editing and mixing, employing similar skills that utilize desktop audio editing software. The music editor may be brought in before final picture lock as a consultant to the director, developing the temp score (this will be explored in the coming modules). Music editors may also be tasked with mixing parts of the score (score mixer).
When composing music for film, the intention is to create music that becomes an actual character in the film—it's analogous to casting a supporting actor. The script that a composer follows is one that's laid out by the director and editor.
As a music editor, you will have to learn aspects of the composer's craft in order to successfully execute your craft. Both music composition and music editing are interwoven. In fact, you can look at music editors as being co-creators of the musical score.
In terms of audio deliverables, you can't really put music composition into the other sound categories, as it's unique in several ways:
- The music is a character in the film, and unlike the sound effects and sound design side of the film, it's done by one person. There may be people assisting the composer, but mostly this task is left up to the composer.
- The film composer can be either given a very broad or a very specific mandate. Often there can be very broad creative issues regarding the creative vision of the director. Music composition is less concrete and more abstract; sound design can often be a bit more straightforward.
- Scores can, in some instances, be considered sound design. When scoring is peripheral, bringing ambiance to a scene, this may be considered sound design and it may be necessary to work more closely with the sound designers in order to create something that's a blend. An example of this would be a horror film, or a film where the score is acting as a drone or subtle backdrop, lacking leitmotif or other deliberate thematic elements.
In addition to stylistic and artistic considerations, the film composer must understand how to technically interact with the other members of the post sound team. Often, the music editor acts as the conduit during this process.
Orchestrator
The orchestrator is responsible for adapting the musical score for a symphony orchestra. Often, on a large film, orchestration can be more time-consuming than the actual writing of the film's music. Composers use the orchestrator to prepare parts (via a copyist) for the different parts of the orchestra. An orchestrator may end up being tasked with composing additional music.
Score mixer
The score mixer is responsible for mixing and recording the orchestra. After the scores are completed, the score mixer will work at balancing, equalizing, and then delivering a final mix of the orchestral score. This can sometimes be a two-mix (stereo), a surround mix, or a mix of the audio stems.
Music supervisor
This is another very broad job description. A music supervisor acts as a creative consultant to both the directors and the producers. They may be tasked to find a composer; they may also be tasked to find songs that will be used in place of a score. Finding music, and then doing the necessary legal clearance to use it, are all parts of this. The music supervisor often relies on the knowledge and expertise of a music editor to ensure that the style of the music used fulfills the director's creative vision of the movie. Often, a music editor will double as a music supervisor on a movie.
Music editor
The music editor works with the composer in the preparation of the score. The music editor can also work with the music supervisor in the placement of source music (music emanating from a scene). The music editor compiles the spotting notes and ensures that the composer's music is synchronized with the picture.
Music editing is much like sound effects editing and mixing, employing similar skills that utilize desktop audio editing software. The music editor may be brought in before final picture lock as a consultant to the director, developing the temp score (this will be explored in the coming modules). Music editors may also be tasked with mixing parts of the score (score mixer).
Mixing
One of the final stages of the audio post process is mixing. All of the elements of the mix are combined on the stage. This is done while the movie is being shown. The production sound, ADR, music, and sound effects will be brought together at this point. This mix is put together on a mixing (dubbing) stage, which replicates an actual movie theater.
During this process, there may be several people present as the sound elements are combined. Each individual may be tasked with mixing different elements. One individual may handle the dialog, another may handle the sound effects, and another may handle the musical elements.
At this point, the mix may include well over 100 tracks of audio. Since this can be quite overwhelming, sub mixes are used, creating stems. Each one of these stems are actual representations of different sections of the mix.
The music editor may be tasked with not only editing the musical section, but also delivering and mixing those sections of the score. It's important that, if possible, the music editor attend the mix sessions.
Formats
During a mix, several different audio formats may be created, such as:
These formats are all common in the film post sound world.
During this process, there may be several people present as the sound elements are combined. Each individual may be tasked with mixing different elements. One individual may handle the dialog, another may handle the sound effects, and another may handle the musical elements.
At this point, the mix may include well over 100 tracks of audio. Since this can be quite overwhelming, sub mixes are used, creating stems. Each one of these stems are actual representations of different sections of the mix.
The music editor may be tasked with not only editing the musical section, but also delivering and mixing those sections of the score. It's important that, if possible, the music editor attend the mix sessions.
Formats
During a mix, several different audio formats may be created, such as:
- Surround (usually called a dolby surround mix, this utilizes proprietary technology, requiring specific licenses)
- Stereo (standard) and
- THX
These formats are all common in the film post sound world.
Conclusion
As you can see, the process of building a film's soundtrack is so much more complicated than sticking a microphone in front of the actors on set. There are many different roles that take part in the audio production side of filmmaking.
As you can see, the process of building a film's soundtrack is so much more complicated than sticking a microphone in front of the actors on set. There are many different roles that take part in the audio production side of filmmaking.
Examples
Better of Jed - Production Dialogue |
Better off Jed - Final Mix |